This thesis is an ethnographic study of the Hor (Arbore) who live at the north-eastern end of the Limo river delta on Lake Stephanie in Southern Ethiopia. In the thesis the Hor belief in the link between warfare and fertility is described and analysed. The Hor do not go to war against all their neighbours. Instead they have categories of those whom they fight and whose shed blood is believed to be beneficial to the Hor and those whom they do not fight and whose shed blood is believed to be dangerous to the Hor. From the former they sometimes take wives and raid cattle while from the latter they neither take wives nor raid domestic animals. From a specific group in the first category known as Maale (and formerly from other groups) the Hor kill male victims whose genitals and bush knives they bring home as trophies. These outsider items are crucial in rituals for the reproduction of their society and culture and also for the reproduction of the societies and cultures of certain of their neighbours. The thesis discusses the link between fertility and various aspects of Hor life. Hor Qawots (ritual leaders) are empowered by the genitals brought from the exterior and it is mainly this empowerment that is believed to enable them to be effective in their political and religious roles in Hor country and among Hor neighbours. The study shows how strictly ranked senior and junior Qawots who are members of the braceletwearing clans, as well as metaphorically gendered age sets and ranked settlements, shape the br social and cultural world and the world of their neighbours. It also shows the crucial role of the outside both as a source of fertility and as a source of essential tools of production and ritual items.

Thesis (M.A.) in Liberal Studies--University of Maine, 2008. / Includes vita. Includes bibliographical references (leaves 55-56).

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

<p>This essay analyzes the difference between feminine and masculine narration in Stephanie Meyer's final novel in The Twilight Saga: Breaking Dawn. The methods used are Narratology, Reader-Response Criticism and Gender Theory. Breaking Dawn is divided into three different books and one of the main characters, Bella, is the narrator in the first and the last book, and the other main character, Jacob, is the narrator in the second book. Bella's and Jacob's narration styles are manifested in the title names and inside the text, and the analysis shows why Bella is a stereotypically female narrator and why Jacob is a stereotypically masculine narrator.</p>

The focus of this thesis is how fanfiction, an underground subculture of web literature written about popular books, films, television shows, and comics, treats the original works it derives from. In this study I will examine the ways in which fans reshape the original stories of the works they write about, and the ways in which they do not, and speculate the reasons they have chosen to do so. This project examines fanfiction surrounding three young adult novels: Twilight, The Hunger Games, and Harry Potter. I examine each of these works and their respective fanfiction in order to highlight important themes in each work and problems inherent in each story to account for the changes fanfiction writers make in their literature. I have chosen one overarching theme in the fanfiction in each fandom and will explore why fanfiction authors have overwhelmingly chosen to change the source material to suit that theme.

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As an alternative to print media, digital media make us newly aware of the materiality of experimental poetic texts and require us to account for their media-specific differences. Although already several theoretical models have been put forward to define these differences, so far few poems have been analyzed in terms of their media-specific textual materiality. This thesis seeks to fill this gap in the applied media-specific analysis of experimental poetry. It combines traditional close reading with a media-specific approach in order to investigate the relationship between the physical characteristics and signifying strategies of four experimental poetic texts in various digital and non-digital media. It critically interrogates the specific use of the given medium in each poem, and illustrates that their respective textual materiality cannot be specified in advance based on general assumptions concerning the medium in question. A digital poem is not inherently more innovative than a non-digital poem. Rather, a poem is perceived as innovative if it resists conventional reading strategies by establishing a particularly complex, dynamic, and effectively anomalous sense of textual materiality, which necessarily only emerges from the direct interplay among text, object, and reader.

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